The foot of Jesus photographed in a graveyard, directly after the burial, on a cold rainy November day, of someone I loved, who had been murdered.

Jesus just left Chicago,
And He's bound for New Orleans,
Working from one end to the other,
And all stops in between.
You might not see Him in person,
But He'll see you just the same,
But you don't have to worry,
'Cause taking care of business
Is His name.

The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.

Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)

J'pense à Mac Orlan, à ce temps d'avant, qu'on a court-circuité, qu'on a charcuté. A ces histoires de ports, entre vie et mort, entre London et Cherbourg, de danger et d'amour.